Naturalism in art and culture. Western European culture of the XIX century School of garbage vestors

Naturalism in art and culture. Western European culture of the XIX century School of garbage vestors
10.07.2019

- (Franz. Naturalisme, from Lat. Naturalis - Natural, Natural, Natura - Nature), direction in the literature and art that established in the last third of the XIX century. In Europe and the United States and striving for objectively accurate and impassive reproduction of the observed reality.

In the field of art, naturalism was developed primarily in the work of French writers - the E. brothers and J. Gekrov and Emil Zola, who believed that the artist should reflect the world around without any embellishment, convention and taboos, with maximum objectivity, positivist truth. In an effort to tell about the man "all the groundnight", naturalists showed a special interest in the biological parties of life. Naturalism in literature and painting manifests itself in a consciously frank show of physiological manifestations of a person, his pathologies, the image of scenes of violence and cruelty, cruelty, impassively observed and described by the artist. Photographic, deasthetization of art form become leading signs of this direction.

The object of naturalism (primarily in the literature) was human character in its conditionality by physiological nature and the medium understood mainly as a direct domestic and material environment. Formed under the influence of ideas of positivistic philosophy, naturalism likened the artistic knowledge of scientific, crocked the distrust of all kinds of ideology, which was generally led to the restriction of his artistic possibilities. However, the invasion of vital truth, so persistently desired by the best representatives of naturalism, has led to the positive moments made by them into the development of artistic culture. Having entered into the fight against official optimism, with the Meshchansk ideology and morality, showing a broad democracy and critical exposure trends, naturalism contributed to the progress of social thought and artistic vision. Creativity of leading writers, adherents of naturalism (especially E. Zola, E. and J. Gekrov, Gauptman, had a direct impact on a number of artists of the last third of the XIX - early XX centuries. (E. Mane, E. Degas, A. de Toulouse-Lorthine, T. Steinlelen in France, K. Mesa in Belgium, M. Lieberman, X. Barters, K. Coloriz in Germany, V. Velou in Italy, etc. ). However, in the history of the visual art, the term "naturalism" is connected with another number of phenomena, which was due to the evolution of this concept, initially denoted by a specific literary and artistic direction, but then transferred to more general and only partly associated phenomena.
The ideological and style trends generated by the bourgeois culture, as well as the artistic method, expressed in the externally agreed reproduction of reality, but without its ideological understanding, artistic generalization, critical assessment and selection. The features of a looseless, superficial image, passive copying of secondary details, which appeared already in the 1820-30s. (especially in French painters P. Demosha, O. Bern), easily combined with academic idealization, giving rise to numerous varieties of salon art. Such art - Untitory, deliberately "landed" the traditional elevation of historical, religious and therapy genres, was widely spread from the middle of the XIX century. (Creativity E. Mesonier in France, F. Ude in Germany, etc.) Other side of naturalism - addiction to a reliably-factory image of gloomy, shadow phenomena of life, scenes of cruelty and violence, the cult of aggressive, barbaric power - reflected in the art of fascist and other Reaction modes, received hypertrophied development in some currents of modernism (especially among representatives of surrealism). The exaggerated accuracy of external parts is characteristic of both the newest directions of bourgeois art (for example, hyperealism).

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Details Category: A variety of styles and directions in art and their features Published 12.08.2014 15:02 Views: 3894

This term is familiar to us and seems quite understandable. But if we talk about it in relation to artistic creativity, here it becomes somewhat controversial and even a multivariant.

But first things first.
From school benches, we remember that a realistic image is an objective image of reality as it really is. But since the author of the artistic work reality is depicting subjectively, i.e. as he sees and understands her, then here we can say that under realism in a narrow sense they understand positivism - Philosophical doctrine that the only source of true, valid knowledge is empirical research. Empiricism Recognizes the source of knowledge is not a mind, but sensual experience. So, it turns out that the artist-realist depicts the reality of which he sees it. But agree that if several people see the same picture or the situation, they will describe (or draw) they are different. This is the uncertainty of realism boundaries.
A question may arise: is Impressionism in this case? After all, the artists-Impressionists portrayed the nature of what they saw it, in all the diversity of the game of paints and blacks? We will answer this question positively: of course, is.
The term "realism" belongs to the French literary criticism of J. Charflery, he was the first to use him in the 50s of the XIX century. For the designation of art opposing romanticism and academism).

It is believed that realism continued its existence in two directions: naturalism and impressionism And manifested itself in various types of art: literature, painting, music. We will look at it on the example of painting.

Naturalism (from lat. NATURA - Nature)

J. Bastien-Lepage "Children Fisherman"
Naturalists sought as accurately as possible to capture modern reality, in particular, the daily life of the peasantry and the working class. Currently it is possible to do with the camera. Naturalists and was characterized by photographicness. French artist Gustave Kourbe (1819-1877) opened its personal exhibition "Pavilion of Realism" in Paris in 1855, and they consider it one of the founders of realism in painting.

Mr. Kurba "The Viesels" (1853)
Subsequently, the socio-critical and satirical components in the works of naturalists moved to the background, because Facely fixed reality became a photo, and a little later, impressionism began to receive more and more recognition.

Impressionism (from FR. IMPRESSION - Impression)

We tell about impressionism in more detail in a separate article. Now we will give only a general characteristic.
Representatives of this direction sought to most naturally and vividly capture the real world in its mobility and variability, transfer their mumbling impressions. The term "impressionism" had a dismissive shade at first - the critic Louis Lerua wrote a feuilleton "Exhibition of Impressionists". This exhibition was a picture Claude Monet "Impression. Sunrise "(" Impression, Soleil Levant "). This is the name of the picture and has become a further term.

Claude Monet "Impression. Sunrise "(1872). Museum Marmotan Monet, Paris
Impressionism focuses on superficialness, momentum of moments, mood, lighting or visual coal. He does not put his task an image of social problems or satire. For impressionism, it is not so important that it is shown in the figure, but it is important as depicted.
So, realism showed itself in different ways in various countries: in Russia - in the works of Movie, in Italy - Verizh, McKyayoli, in Australia - Heidelberg School, in the USA - School of the garbage bucket, in France - Barbizonskaya school.

Verism (from IT. Vero - true, truthful)

Back in the XVII century. This term was used in visual art to designate a realistic direction in Baroque painting. In the second half of the XIX century. The term was revived as the designation of the realistic and naturalistic direction in Italian art. In the field of literature, the most bright and completed expression verism Got in Roman and Novella.

Telemaco Signornini "Street Scene" (1881)
Reflection of readerism in music are Opera Maskagany, Pucchini and Leonkallo.

Mackyoli (from IT. Macchia - stain)

Mackyoly - A group of Italian artists, formed in Florence to the beginning of the 1860s. Almost all representatives of McCyayoli in the past were participants in the national liberation movement under the guidance of Garibaldi. They considered Academism with a frozen phenomenon in art and opposed him the immediate connection of his art with modernity. The subject of their works - the episodes of war for independence, portraits of its participants, genre scenes, landscapes.

Giovanni Fattori "Hay Stack"

They often worked at the pleaire (in the air). For works of McCyayoli is characterized by vitality, laconicism, a free combination of juicy color spots. McKyayoli had a great influence on all Italian painting of the end of the XIX century. By the 1880s. The movement broke up, some artists turned to impressionism.

Barbizonskaya school

Troyon "Departure to the market"
So called the group of French painters-painters. The school received his name by the name of the village of Barbizon in the forest Fontainebleau, where Russo, Mille and some other representatives of the group lived for a long time. School artists relied on traditions laid down by Dutch and French landscape artists. Their contemporaries who did not belong to the group were also influenced on the work of the barbizonans: Coro, Kursbera, Delacroix.

Diaz "Old Mill near Barbizon"
What is the difference between the landscapes of the followers of the barbizon school from the landscapes of the artists of other destinations? The fact is that the landscape was given different meaning. For example, in academic painting, the landscape existed mainly as the background on which the plot of the paintings was unfolded. And romantics landscape was embeded. Barbozonsmen were advocated for the realistic landscape of their homeland with everyday motifs, with the participation of ordinary people engaged in labor. Representatives of the Barbizona School: Rousseau, Dupre, Diaz, Mill, Konach, Trina, and others, it is impossible to definitely tell them. The famous Russian landscape players F. Vasilyev, I. Levitan, A. Savita, showed interest in the work of the barbizontians.

Heidelberg School (Australian Art Motion of the late XIX century)

Frederick McCubbin "Letter" (1884)
In a different way, this school is called Australian impressionism. Movement is based on artists Arthur Streeon and Walter Walter. Participants of this movement wrote at the plenier in an impressionist manner. The name of the school received by the name of the area east of Melbourne, which was called Heidelberg.
There are more than 20 artists of this school. They were influenced by the movement of impressionists and borrowed many concepts: the image of everyday life against the background of nature, the ability to grab a moment and pass it with paint, to catch the effect of lighting, contrast, etc. But you should not take these artists as soon as copiers of Western art. They skillfully and with love portrayed their Australian landscape, showing his distinctive features.

Walter withers "After a hot day" (1891)

School of garbage vestors

The artistic direction arising in the United States at the beginning of the XX century. Most of the works of school representatives are devoted to the realistic image of the daily life of the poor and working quarters of New York. The founders and the largest representatives of the school are Robert Henry, John Sloan, Edward Hopper, and others. At that time, the cameras were not yet used to operate incidents. Therefore, newspapers hired artists who sketched illustrations for notes.

John Sloan "Bar Maksurilis" (1912)

Basically, they portrayed the unsightly sides of urban life. This gave impetus to the emergence and development of American realism. The main objects of their sketches were streets with their typical then representatives: non-workers, street musicians and actors, immigrants, etc.
As usual, any method has its own supporters and their opponents. Some see in the work of realists the truth of life and an objective assessment of reality; Others believe that there is nothing valuable in order to accurately fix real events and call it artistic creativity.

Realism and naturalism in painting - Word of R. French critics called the direction in painting, which elected Kurbe (1819-77) into opposition not only to the idealistic direction, but also to any other, who interrupted the plots for paintings not from the surrounding modern society and more than an exceptionally worker, labor class. If the word "naturalism" received a value as the expression of a low R., then in painting the difference between R. and naturalism is not to such an extent, one of the critics of Kurbe (Kastanyari) recognized the legality of the new direction and called him naturalism, especially since The newness then the word R. seemed to many - not in the spirit of French. Directions in painting are determined not only by the native of plots elected for paintings, but also the way they are fulfilled in relation to real objects of nature, which the image enters into every picture to whatever the nature it is related (see painting). Household painting, although it represents the image of a valid life scene, but easily admits an anecdotal element, so it is not identified at all with a real direction without special reservations. In any case, household painting (genre) - R. R. Household painting, as she was previously understood, revived and even bloomed in the Netherlands in the XVII table. At the time when the painting of religious and mythological plots dominated in Italy and in France, and in Flanders themselves were artists who wrote to the plots of not everyday life. Never anywhere in the continuation of the last four centuries could not keep solely one direction in painting, and sometimes artists appeared, whose works were extremely multilaterally; Such was, for example, Rubens. In the choice of real topics for paintings, the Dutch went on household painting, as they began and achieved a highly simple moody landscape with peasant figures and pets. The Dutch was developed, in addition, the stories of inanimate nature, like: flowers, fruits, bitu ditch, etc. (see); Sneders depicted on huge canvases fish and meat shops, and his paintings were in demand and fame. The famous Murillo, the image of Madonn, the visions of the saints, etc., did not bete the image of an unclean boy or a beggar, asking for alms. Velasquez, who wrote saints, portraits (very real), also portrayed the grobes and a walk from the mortension. In Italy, Karavago, at the end of the XVI century, he stated himself to a champion R., portraying scenes in which soldiers, gambers, walks, often drunk and robbery. Although he wrote and religious paintings, but his whole artistic activity was an energetic protest against the dominant direction, too successful from reality not only in the scenes, but also to fulfill them. Any artist, of course, had to depict objects with a more or less complete reminder of appropriate reality, but in particular clear it seems to be in portrait painting. However, the similarity is not the only advantage of the portrait: even the reality of the highest order is required - vitality, and moreover - the characterity is not only rough, trivial, low. Naturalism Kurbe did not allow such restrictions: he loved sharp and coarse, only not fictional, but existing in reality. Famous P. J. Prudon (Prudhon), who dedicated to the interpretation of the value of Kurbe half of his book "Art" (in Russian - Translation of Kurochina), considers Kurbe idealist in R. On the other hand, on the technique of Kurba does not satisfy all the latest requirements, since She did after him (Mane, 1832-83) success in the image of the objects of nature, illuminated in the open air (pleateness, from Franz. "Plein AIR"); Impressionism also made its share in the technique of painting, insisting on the generalization of the tones and reduce the details. Connection R. By content with R. to fulfill, as it is now understood, it is found only in the newest painters, as for example. At the French, Bastien Lepage (very softened Kurbe) and Raphally, depicting, like Kurbe, ordinary and mostly working life. Their canvas depict people also in full size, although such dimensions of paintings are caused by less requirements of plots than protest against the exceptional sizes of historical content. - The change of directions in painting is presented by law in relation to changes in public ideas, but in general, differences in the individuals of artists and in the beliefs of certain parts of society leads to the joint existence of many aesthetic flows. The story of painting the last four or five centuries is full of examples of r.; To the above velasquez, Caravaggio, etc. You can add Surbaran, Rubens, Wang-Diek, realists. Rubens did not even look for beauty, portraying only strong, healthy bodies. However, R. for a time was suppressed by idealization, which, even in convention and manners. The classic landscape, founded by Poussa and Lorrane in the XVII table., Embedded deeper roots in France and put it in the form of a formation of nature both there, and partly in Holland - than the real landscape that had, however, in the Netherlands such high representatives as Winernants, Ryuzdal, Gobbema. In France in the XVIII table. All kinds of painting have finally got a fingerprint of manners with a complete distance from nature. In the form of a reaction arose to the time of the Great Revolution in France, David's classicism with the domination of the form - at least correct - above the color. The coming in the twenties Our century Romanticism of Delacroix with a predominance of coloring over the form rejected classic plots from the mythology and history of the Greeks and Romans and took a step to R. in colorful terms. This step was preceded by the revival of the real landscape in England (Constable), which served to benefit the Delacroe himself, and in the thirties of the XIX century, a group of landscape players in France (Rousseau, Cabat (Cabat), Dupre, etc.) completely revived the real landscape with internal content or mood. In England, in the past century, Vilki put a household painting at a considerable height, but in France, household painting was lost in the XVIII century in the manner of Lanya, Patera and mostly - Bush. Alone R. revived in the XIX century; Since 1848, Mill (Millet) gave all his forces solely by the image of the life of the working people and mainly the image of his work. Mill was already a convinced realist, but softer than Kurbe. This last had more reluctants than connoisseurs in France, but his sharp protest was a beneficial transitional era and left traces of both in French and in Belgian schools. Alfred Steven as the opposite of Kurbe portrayed the salons, visits, Bauras of modern Parisians and although also treats them as a realist, but there are no speech about the disgrace. From the following you can name Bonvena (strata, seamstresses) and Ribo (Theodül) - a realist in images not only zucchini, but also religious scenes. Bastiene Paves, Lermit and Rafaelli - Realists in an unequal degree; In a picturesque attitude, they are more real than Kurbe, as we used the lessons of pleasing and impressionism, although not everything is in reasonable. In Belgium in 1850-70. The influence of Kurba also dominated; Charles de Gru (De Groux) depicted scenes of illness, death and poverty, attic and basements; Louis Dubua - Maybe the strongest of Belgian realists. The influence of French landscape players in Belgian began in the thirties, but the Belgians first worshiped the majestic reasons for foreign nature; Only in the fifties of Kindermans, the first returned to the image of a simple domestic nature, Furmua recalled the bubble, Theodore Baron - wrote a winter and melancholic autumn, Clay - a calm sea, Lamans - Moon nights, Fersther, Kunts - all these realists and colorists. Despite the fact, Belgian painting, according to Mother, is not an expressive sense of thin sensations.

Naturalism(French Naturalisme, from the Latin word "Natura" - - "Nature"):

1) Direction in the literature and art that established in the last third of the XIX century. in Europe and the USA. In the program of naturalism, the desire to like the artistic knowledge of the world to scientifically study, the desire for an objective, impassive image of reality, primarily human characters, their conditionality of the physiological nature of the person and the public environment surrounding it. Naturalism originated in French literature and literary criticism under the influence of the success of experimental natural sciences, especially physiology and medicine. The philosophical basis of naturalism was the positivism of the French philosopher of Auguste Conte and its refraction in the aesthetic theory of Tan, in the theory of the evolution of the British sociologist Herbert Spencer.

The theory of naturalism as a literary school was developed in detail by Emil Zol, headed by the Naturalist Writers School. For all the limitedness of the creative method of naturalist writers who refused to summarize and analyze socio-economic problems in the life of society, naturalism contributed to the sharp expansion of the circle of topics and the formation of critical realism of the XIX century.; Interest in the image of the "social bottom", to the functioning of a variety of "social organisms" (mines, enterprises, markets, laundry, public houses), to the interaction of the personality and the crowd. This gave rise to new agents of the artistic picture of reality. Similar directions existed in the artistic culture of many countries ("Verizh" in Italy, "Lounge" in the USA). The positivist revision of the realistic tradition of the formation of an artistic image, manifested in the literature and the art of naturalism, led to an increase in the features of impressionism, symbolism and decadence in the work of such writers as Gi de Maupassan, Georges Gyuismans. Naturalism had the strongest impact on the work of such artists of the last third of the XIX century. and began the XX century, like Eduar Mana, Edgar Degas, Jules Bastien-Lepazh, Henri de Toulouse-Lotrek , Theophile of Steinlen in France, Constained Messenger in Belgium, Max Lieberman, Ketolits in Germany, Francesco Paolo Micketty, Vincenzo led in Italy. However, naturalism in the visual art did not take shape in a solid, consistent direction;

2) in Soviet aesthetics and criticism of the 30th - 70s of the twentieth century naturalismexplained as an artistic method, typologically opposed to realism as its antipode (as well as formalism). The main feature of naturalism was proclaimed by an extra-economy, biological view per person, which corresponded to the passive registration of life phenomena and facts without their critical selection, ideological and philosophical understanding and analysis; Naturalism was identified with impassive copying of life without the artistic generalization, with an increased interest in the dark (even pathological) to its parties. In such an understanding, the signs of naturalism were found in the academic salon art (Paul Maja, Ernest Mesonier), in the Rijio'yalism of the Painting of the United States, in such avant-garde trends, as Dadaism,